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Politics and Aesthetics in the Straubs’ Films

  • MUBI
Jacques Rancière, Philippe Lafosse and the public in conversation about Straub-Huillet after a screening of From the Clouds to the Resistance and Workers, Peasants

Monday, February 16, 2004, Jean Vigo Cinema, Nice, France

Above: From the Clouds to the Resistance.

Philippe Lafosse: It seemed interesting to us, after having seen twelve films by Jean-Marie Straub and Danièle Huillet and talked about them together, to ask another viewer, a philosopher and cinephile, to talk to us about these filmmakers. Jacques Rancière is with us this evening to tackle a subject that we’ve entitled “Politics and Aesthetics in the Straubs’ Films,” knowing that we could then look into other points.

Jacques Ranciere: First, a word apropos the “and” of “Politics and Aesthetics”: this doesn’t mean that there’s art on the one hand and politics on the other, or that there would be a formal procedure on the one hand and political messages on the other.
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On DVD: "Six in Paris," "Arch of Triumph"

  • IFC
By Michael Atkinson

One of the loveliest freeform ideas to find patronage and popularity in the New Wavey 1960s was the omnibus film, a rarely cohesive but always tempting quasi-genre defined as a collection of exclusively commissioned short films. These projects usually began with a general theme but were always most interested in gathering the generation's coolest hotshot filmmakers and encouraging them to whack off and make their special kind of havoc, but in compressed form. The aesthetics of the genre are questionable -- never is the entirety of an omnibus very satisfying -- but its smash-up ranginess of conflicting styles and potpourri perspectives make the movies irresistible. (Favorites of any connoisseur would include 1962's "The Seven Deadly Sins," 1963's "RoGoPaG," and 1969's "Love and Anger," all of which feature the era's most promiscuous omnibus-er, Jean-Luc Godard.) They're still being made: the Korean New Wave collection "If You Were Me" (2003) is a knockout,
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